"Khira Jalil and the apicalypse: a queen bee and her artistic revelations" - Edited by Maria Marchese

            Zoomonart.blogspot.com 

              Arte Contemporanea 

                    e cultura sociale 

        Khira Jalil and the apicalypse: 

                       a queen bee 

         and her artistic revelations" 

              Edited by Maria Marchese

E quanta esperienza ed arte | chieggian l'api frugali, augusta Bice, | io qui prendo a cantar

Virgil

The supreme poet himself, captivated by the industriousness of the bee, is about to compose an ode: in just a few verses, Virgil succeeds in expressing how much wonder and enchantment he finds in the skill of the tiny creatures, so much so that he calls it art. In her canvases, Khira Jalil artist manifests herself in the same way: like the slightest beast, but with the pride of a queen, day after day, she centres her revelations on the supports. Here, I playfully use the term 'apicalypse', a mispronunciation of the high-sounding word apocalypse, which, in its etymological meaning, indicates a revelation, to emphasise how the Moroccan author's works are true messages with human, socio-cultural and philosophical content...; likewise, her compositions are reminiscent of the dense weave of a beehive. If we consider, then, that the idea of the apocalypse is linked to a series of events, which narrate the end, the apicalypse, referred to the painter, would constitute, at last, the end of an artistic knowledge of great value.

The virginal cloth is that single white page, which Khira Jalil impregnates with a chromatic genesis, which is the incipit, on which, little by little, he will build his cells. Thus, the artist, with the mastery of a goldsmith, first sketches the "mansion", that is, the dwelling, where thought is the foundation, drawing its outlines; from the latter, she undermines every single space, between rigour and softness.

The honeyed colour, then, translates into lines that chase each other, seemingly, crazed; in reality, they are the fruit of a highly articulated prior intuition.

The brush, thus, steals tonal mixtures that are at times sweet, at other times bright, while the hand guides it towards an intricate resolution. To the eye appear frugal arabesques, the synthesis of a tribal figurative language, where the polis is, indeed, universal. The eyelash, fascinated, follows the contours, then, the colours, which add up to archaic and minimal figures, each of which belongs to the microcosm individual/animal/soil, as well as to the macrocosm, which sees us as becoming essences. The bristles shade the colours or create tonal syncopations, bestowed on the fabrics in a 'genuine' manner; it is possible, in fact, to detect that uncertainty, the identifying mark of veracity and uniqueness, and of the artist and the man. Each of Jalil's works constitutes the reconstruction of a consideration, which embraces the deepest sense of a multidisciplinary approach: to tell, to teach, to educate, to learn... from life itself.

The bee is just a tiny insect and yet it manages to build a hive that has the capacity of a barn and the geometry of a cathedral. His teaching is this: if you do what is possible, from possible to possible you will arrive at the impossible.

Fabrizio Caramagna

The Moroccan artist's works become like the granary and the cathedral, mentioned by Caramagna; indispensable work, nourishment, sacredness, prayer, solid foundations and walls: they open lámia, that is, deep openings, where experiencing oneself is, consequently, synonymous with evolution and inner growth.

A day was dedicated to the artist, who is also a poet, author, lecturer and art critic, whose firm belief, confirmed by her artistic career, is aimed at the concretisation of desires, on 7 January 2023, by the University of Molay Slimane, in Béni Mellal, Morocco.

On that day, the chairman of the department of Arabic literature Dr. Hisham Talal, his students, together with Dr. Mohamed Chari and their colleagues provided different interpretations of all of Jalil's literary works through a careful analysis of them. Moreover, her qualities as a leader, standing up for human rights and her tenacity in persevering and achieving her goals were celebrated.

Supported by various economic and academic partners, such as the Centre for Art and Investment IGHAT, in the person of its president Rahim Jabran, the president of the Investment Club in Béni Mellal-khnifra, and others, they focused on the artist and the woman, in an educational and economic design perspective, in order to develop multiple possibilities.

Khira Jalil is president of the international association Art's Wings Forum, which supports numerous international cultural initiatives.